And Iâm also sure that this âextra moreâ Beethoven I experienced last week will remain a guiding light for me as to how Beethoven can and should feel onstage. He also has a real flair for Beethoven’s fugal writing, so critical to the “Hammerklavier” Sonata, the Sonata … But its very explicitness, unnuanced and direct, seems a jarring contrast to the complexity of feeling in the main body of the march. 11 in Bb major, Op. Yet personal emotion is constantly present, inseparable from the descriptive music; sometimes held back, sometimes barely controlled and overwhelming, specifically in the fortissimo chords of the climax, which are like cries of genuine anguish. C minor: by far the most iconic Beethoven key. The sonata consists of only two contrasting movements.The second movement is marked as an arietta with variations. 20, Op. Then, while waiting for the new material to be released, I will be posting session notes from July: thoughts about the sonatas and a kind of diary of how the filming went each day. In the coda (16:45), Beethoven allows the music to become truly tragic, a reflection of inner pain and perhaps a deeply felt commentary on the fragility of a single life. 111, is the last of Ludwig van Beethoven's piano sonatas.The work was written between 1821 and 1822. It is a tangible evolution from the earlier three works, with extra richness in its textures and timbres (the E-flat major key lending itself to glowing brilliance â think the 'Emperor' concerto years later! 31 No. first impressions are so importantâ¦), also as we were still refining our filming workflow, and musically as No. It is immensely loveable and an absolute joy to perform. 20, Op. Beethoven: Piano Sonata No. sonatas over 9 filming days. 1, also among the 3 Sonatas Op. The personal nature of the music is reflected in the parlando (âspeakingâ) effect â music which seems to imply spoken words â particularly in the second theme, with its many repeated, entreating notes. The scherzo is like an explosion of bright colour after the mellow first movement. 1. 13âs myriad of moods it juxtaposes a single-minded unity of colour and expression, concentrated and powerful. 7, while Sonata No. life? 2 was probably composed immediately before Sonata No. image I have in the beginning is of two dogs happily chasing each otherâs tails, but the dolce marking and the innocent delight of the opening bars do belie a fair share of drama in the development, with several chains of surprising modulations (at 8:00 particularly, the left hand, if played on its own, could have well been composed by BartÃ³k or Ligeti). 21 (1804). 14, No. The middle section wouldnât be out of place in Schumannâs DavidsbÃ¼ndlertÃ¤nze, juxtaposing two syncopated gallops, the first fiery in spirit and a bit steely in sound, the second light-footed and questioning. 2 was probably composed immediately before Sonata No. ), which is like a premonition of the funeral march, heavy and hollow with pain; and the final one, with its gentle flow of triplets, embracing both listener and performer. The results are often humorous, and Beethoven complements his fundamental idea with other comic ingredients â highly contrasting dynamics, theatrical fermatas and pauses. An unexpected, novel effect, perhaps less to us, who have heard the sonata countless times, but certainly for Beethovenâs contemporaries. Beethoven writes two doleful recitativo lines, both pianissimo, bathed in a single continuous pedal, allowing harmonies to cloud over â itâs an otherworldly sound, haunted and haunting (5:52). 1 is likely to date from 1797 or early 1798, around the time of composition of the Sonatas, Op. The Minuet is a jewel among the other movements, replete with beauty and poetry. 111, as both this use of a trill â not ornamental, but part of the musicâs core â and the concept of material-into-spirit will play a major role in that Sonataâs second movement. 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